Mariah Carey got plenty of publicity this summer when her hit single “Obsessed” was widely interpreted as a stinging shot back at Eminem and his raunchy song about the diva, “Bagpipes from Baghdad.”

There’s nothing like a good old smackdown between pop stars to either bore one to tears or else trigger a ton of sales. And for Carey – whose camp denied the song was about Eminem – “Obsessed,” marked her highest debut on Billboard’s “Hot 100” chart since 1998 and her 40th appearance in the Hot 100 overall.

It also served as a smart lead single for this widely-anticipated follow-up to last year’s multi-platinum “E=MC2.”
“Memoirs of an Imperfect Angel” has a lot of the slow silky balladry Carey’s been synonymous with throughout her career, including the easy-flowin’ jam “Ribbon;” the deliciously-titled, growling “H.A.T.E.U.” during which she even gets to use that once ubiquitous ultra-high vocal squeal of hers; and the mysterious prologue tale of betrayal, “Betcha Gon Know.”

Primarily produced and written by Carey, Tricky Stewart and The Dream, and executive produced by Antonio “L.A.” Reid, the album is being issued as a double-CD, with the second enhanced disc containing four “Obsessed” remixes and two “Obsessed” videos.

The trademark balladry that dominates the album is also its downside in that there’s not enough balance with uptempo fare. She turns it up and has some fun on occasion, like the easy-going groove of “It’s a Wrap,” and the steady drive of “More than Just Friends,” but a lot of the back half of the disc is dominated by lightweight tracks (“Up Out of My Face,” “The Impossible”) that sound like they were running out of ideas after the comparative strength of the earlier songs.

Carey does turn in one relative surprise with a cover of Foreigner’s 1984 hit “I Want to Know What Love Is.” It’s this album’s second single and it’s a very faithful rendition, right down to the gospel choir accompaniment.

“Memories of an Imperfect Angel” won’t go down as one of her strongest albums, though it’s a decent set that continues a comeback which seemed extraordinarily unlikely in the first few years of this decade, prior to the hugely successful “The Emancipation of Mimi” in 2005.

Miranda Lambert, “Revolution” (Columbia) 3.5 stars.

The image of Texas songbirds has never been quite the same since Miranda Lambert stomped on the scene.

The rising star, whose name is frequently prefaced by the word “bombshell,” has given a thundering jolt to the modern country scene with her 2005 debut disc “Kerosene,” and her sophomore follow-up in 2007, “Crazy Ex-Girlfriend.”

“Revolution” neatly completes that opening trilogy, another set high of high-octane, take-no-prisoners, raw-edged country, from the pulsating single “Dead Flowers” and the red hot rockin’ Julie Miller cover of “Somewhere Trouble Don’t Go,” to the playful simplicity of “Airstream Song,” and the tale of deceit “White Liar.”

Lambert wrote or co-wrote 12 of the 15 songs on the album and shows off her excellent taste in covers with songs that include a gritty version of Fred Eaglesmith’s “Time to Get a Gun,” and John Prine’s “That’s the Way That The World Goes ‘Round.”

This packed-to-the-max tribute album to former Miracle Legion frontman Mark Mulcahy also stands as a loving homage to his late wife Melissa Rich, who died suddenly last year, leaving behind Mulcahy and the couple’s twin three-year-old daughters.

Some of the songwriter’s friends, many of them among the best in the business assembled for this 21-song CD. There are also an additional 20 tracks which are available digitally, as well as concert events in London and New York, with proceeds going to Mulcahy to help him raise the children.

Mulcahy has always been a cult hero of sorts, generally more appreciated in the U.K. than in his own country, but many of the contributors here are major artists including Michael Stipe (R.E.M.) who turns in a powerful “Everything’s Coming Undone,” Thom Yorke (Radiohead) who offers a wild electronic blast of “All For the Best,” and Dinosaur Jr who turn in a typically rowdy “The Backyard.” Other standouts include Frank Black’s over-the-top rockin’ “Bill Jocko;” the downright spooky “The Quiet One,” by Frank Turner; and Chris Harford and the Band of Changes’ acoustic version of “Micon the Icon.”

Michael Stipe: "Everythings Coming Undone"

Buy this album. It will make you feel good not only because it’s for such a great cause but because the music is so consistently excellent. And Mulcahy’s liner notes about his late wife are beyond beautiful. This ranks way above the typical tribute album on every level.

Barbra Streisand, “Love is the Answer” (Columbia) 3.5 stars.

Say what you want about her politics, her movies, her star status or whatever else, but don’t ever say Barbra Streisand hasn’t taken care of her voice.

That exceptional instrument of hers is still in exquisite shape, as can be heard on this new disc of jazz standards which finds the singer collaborating with Diana Krall and her quartet.

Arranged by Johnny Mandel, “Love is the Answer” is highlighted by a series of classics, notably “In the Wee Small Hours of the Morning,” a title typically associated with Frank Sinatra. Streisand caresses the upper octave of her voice in the song, capturing the essence of its lonely, lights down low lyrics. She later shows off her lower range as well, in selections that include a sparkling “Spring Can Really Hang You Up The Most,” a song she’s been singing since she was a teenager performing in nightclubs.

Krall’s influence can be frequently felt, notably in the Brazilian flavors of “Gentle Rain,” from the film “Black Orpheus,” and her piano provides the perfect accompaniment alongside the orchestra in “Make Someone Happy,” (from the musical “Do Re Mi”), “Here’s that Rainy Day” and numerous other songs.

The deluxe edition includes a second “bonus disc” featuring stripped-down arrangements of the same songs, accompanied by just the quartet.

The third and final installment of Rolling Stones’ latter-day reissues has recently arrived, filled with after-thoughts in the Stones’ history, occasionally pumped up thanks to a few legitimate must-have essential songs along the rocky road.

You’re going to have to search a bit for the must have’s on 1986’s “Dirty Work,” though “Harlem Shuffle” or the title track may at least temporarily halt you from pushing this to the side as one of the band’s least-essential offerings.

1989’s “Steel Wheels is far superior, bolstered by the hit singles “Rock and a Hard Place” and “Mixed Emotions.” It was an album that marked a significant return to form.
The surprisingly intimate “Voodoo Lounge,” from 1994 remains one of the Stones’ best latter-day offerings, and their finest studio set since 1981’s “Tattoo You.” Their first album without bassist Bill Wyman, it is powered by rockers like “You Got Me Rocking,” the “Between the Buttons”-styled “Sparks Will Fly” and several ballads, including “The Worst,” and Jagger’s saga of jealousy “New Faces.”

“Bridges to Babylon,” from 1997 sticks to the Stones’ signature sounds, with tracks that include the lyrically provocative “Saint of Me” and the melodically rich “Always Suffering.” Even when they messed things up, they made amends, crediting k.d lang when they realized that the set’s lead single “Anybody Seen my Baby,” borrowed a tad too much from lang’s “Constant Craving.”

Lastly there is “A Bigger Bang,” the 2005 recording which got a lot of attention at the time for “Sweet Neo Con,” which took on the Bush Administration with stinging authority. It was almost one of the most mundane tracks on the disc however, and the set was better exemplified by the deep delta blues of “Back of My Hand,” the “Some Girls” era dance grooves of “Rain Fall Down,” and the country tinged “Biggest Mistake.”

DVD Spotlight

David Bowie, “VH1 Storytellers” (Virgin/EMI). 3.5 stars.

David Bowie didn’t play the typical game when he appeared on “VH1 Storytellers” back on Aug. 23, 1999.

Not that Bowie has ever gone the predictable route, but most of the stars who were playing the show at the time were usually running through tracks from their latest album and a few of their greatest hits, telling a few dull stories along the way. Bowie did the opposite. Oh, he did a couple of his huge hits, like a revamped “China Girl,” and a brief “Rebel Rebel,” but he was more entertaining venturing far from the beaten path with material such as “Word on a Wing” (from “Station to Station”) or a version of his 1960’s recording “Can’t Help Thinking About Me,” – which he introduced by mocking the lyrics.

He also told colorful stories along the way, bringing real meaning to the title of the show. This CD/DVD reissue celebrates a special night in his career and includes four bonus video performances, “Survive,” “Always Crashing in the Same Car,” “I Can’t Read,” and “If I’m Dreaming My Life.”